Lara Pawson, author of In the Name of the People: Angola's Forgotten Massacre, examines complacency and complicity in the xenophobic and racist underpinnings of the EU referendum's Leave campaign.
A few hours before polling stations closed last Thursday, I travelled to west London to watch an extraordinary film about Syria. Silvered Water: Syria Self-Portrait (2014) is composed almost entirely of footage shot on mobile phones and uploaded, anonymously, onto YouTube. Some of it is also the remarkable work of Wiam Simav Bedirxan, a Kurdish woman surviving and filming tenaciously in the city of Homs. The film moves back and forth between Syria and France, to Paris where its Syrian director, Ossama Mohammed, lives in exile. The violence feels relentless: we see a young man being tortured, a truncheon thrust up his arse; another sitting upright in a plastic chair, his face blown off in shreds; we see the carefully wrapped bodies of dead children; the grief of weeping women; we see a kitten chewing the insides of a dog; and a pair of dead horses, starch stiff on a Homs street. It goes on and on and on.
Early in the film, however, I was confused, briefly, by some of the footage. Was I watching a scene in a Syrian city or in Paris? The narrow streets looked so familiar – the almost quaint blocks of flats complete with tiny balconies, blinds and plants in pots. But as the film rolled out, the physical destruction of Syria expanding, so the distinction between here and there and there and here became clear. On screen, at least. In my head, it was a different matter. A series of thoughts were scrambling. Here we were watching a film about the indescribable suffering of so many Syrians on the very day that millions of British voters were marking a cross to keep foreigners out. How many of us have even the vaguest clue of what it is to live with war? How many of us desire to truly understand? Mixing in with my anger and shame was another frightening thought, one that has gone round and round my head for months now: that our meanness, our arrogant notions of British exceptionalism, our racism, parochialism and narcissism are leading us ever closer to violent conflict here.
Adam Elliott-Cooper discusses how Britain's role as a major imperial power not only brought about mass migration, but has united an otherwise extremely heterogeneous Black population in struggle through their common experience of colonial violence. The 'diversity in unity' of such experience, and the memory od past struggles, are essential resources for the ongoing fight to tear down the structures of racial oppression which persist in Britain today.
Recently, we have seen anti-racist resistance organised against racist border controls in solidarity with refugees and migrants. Amongst other actions, Black Dissidents, Sisters Uncut, London Latinxs and other activists blocked the Eurostar departures in St Pancras Station on Friday 16th October.
Anti-colonialist thinker, writer and revolutionary Frantz Fanon was born 90 years ago today, on 20th July 1925. To mark the anniversary, Verso presents an extract from Jean-Paul Sartre's preface to The Wretched of the Earth, published in Fanon's final year.
At a recent talk in Crotia, Vivek Chibber discussed some of the major theoretical issues at the heart of his Postcolonial Theory and the Specter of Capital, which has caused a storm of controversy that since its publication:
"One of the striking contradictions of postcolonial theory is that, even though it presents itself as the analytical framework of capitalist domination, it rejects the idea of a universal theory. Hence, it is in the awkward position of the acknowledgment that capitalism has been globalized, but denying that we can conceive a general theory of its functioning or its properties. This is a deep and devastating contradiction at the very heart of postcolonial theory. I will examine the sources of this dilemma and argue that the best framework for understanding capitalism remains a Marxian one, which I further defend from the accusations of weakness made by postcolonial critics."
The talk, moderated by Katarina Peović Vuković, was given at Cinema Europa, Crotia, for the 8th Subversive Film Festival, "Spaces of Emancipation: Micropolitics and Rebellions", 14th May 2015.
More from Vivek Chibber here.
This month sees the UK cinema release of Steve McQueen’s brilliant and brutal new film, 12 Years a Slave. McQueen has been vocal in condemning cinema’s wariness in confronting the subjects of slavery and race, and his film has galvanized a new interest in the unspeakably ugly period in American history.
Based on Solomon Northup’s 1853 documentary, 12 Years a Slave takes an unflinching look at the story of a free black man from New York who is abducted and sold into slavery.
Verso has long held a commitment to telling similar stories, and we now present a selection of books as the essential starting point for those looking to learn more about the roots, events and legacies of slavery and racial tensions in America and the world.